The GQ+A: How to Get Your Photo Taken By Tommy Ton

Nine years ago, Toronto native Tommy Ton starting standing on the street outside fashion shows, shooting editors and buyers and posting their photos on his blog, jakandjil.com. In the years since, he and other pioneers such as Scott Schuman of The Sartorialist have spawned an entire genre of photography: Street Style. And, for better or worse, the genre has take on a strange life of its own, where one now sees people strutting on the street in front of show venues—people who have no connection to the business—all with the desperate ambition of being photographed. It’s all made for a curious circus. GQ deputy editor Michael Hainey sat down with him to find out find out how he works and what it takes to produce such evocative content. Read on to see who’s on his want list, the do’s and don’ts of street style etiquette, and whether or not having a a good beard raises your chances of being photographed.

**Michael Hainey: How do you choose who you photograph? **

Tommy Ton: I love it when someone wants nothing to do with me. I think it’s so much more attractive. You have to be at ease and not care so much about how perfect you look and whether or not your sleeve length is down to a certain length or hemmed a certain way. You should have a certain way of dressing based on how you feel. It’s appropriate for you. I think Robert Rabensteiner’s a perfect example of that--he just always looks so chic.

MH: Who’s on your get list?

**TT: **That dream came true last summer: Stefano Pilati. I’ve shot him before but this time I got a nice, clean shot. He wore a white double-breasted tudo. That was perfect. And it was the day of his comeback. He stopped and we had a little talk, and I told him how much I adored him and what he does. I felt like I could die after that one.

MH: Ok, so now who’s left?

TT: You know I’ve never shot Hiroki, the designer from Visvim.

**MH: And how will you make that happen? **

TT: By wandering outside the showroom. [Laughs] I have my sources.

[Editor’s Note: Ton has since shot the designer]

**MH: Here’s an important question: What do you think the importance of facial hair is to street style? **

TT: [Laughs] I think it’s quite important. It adds character. You have to know how to groom yourself much better, though. There are particular guys who own the bearded look. Robert Rabensteiner. Josh Peskowitz. Nick Wooster. No one else can do the handle-bar mustache like Nick Wooster does. John Luca from Vogue Italia, the guy with the dreads and beard. That’s distinctively his look.

MH: What about Angelo Flaccavento [style writer for Il Sole]?

TT: Oh! Angelo. You know, I hate bow ties during the day. I just can’t stand bow ties, but if there’s anyone who can wear a bow tie, it’s Angelo. He doesn’t make it look like it’s choking him. It’s kind of funny when you see a guy wearing an oord shirt, a bow tie and a pair of shorts. It’s, in my opinion, Fire Island. Cocktail party.

MH: Oh snap.

TT: [Laughs] Angelo owns the bow tie, and he’s always worn a bow tie, so it’s his signature. But Angelo’s beard is perfectly groomed. That’s years and years of work.

MH: I have this theory that beards add to the street style allure. Do you think that’s true?

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TT: Yea, of course. Beards. Cigarettes. Texting. Wind. A good watch. A hot accessory on your arm--someone who completely clashes with what you’re wearing. Sometimes that works.

MH: Do I have to smoke a cigarette to get photographed by you?

TT: Not all the time. I don’t even like smoking, but what I like about smoking is just that there’s a sense of I don’t want to use the word elegance, but there’s a certain chicness to the way that people smoke. You know there’s a certain gesture when guys do it, so that’s why I like photographing guys that smoke. I don’t encourage them to smoke, but if you’re going to smoke I’ll take the photo anyway.

MH: What are ways not to get photographed by you?

TT: Don’t parade in front of me. And don’t OD on the peacocking.

MH: On the peacocking?

TT: On the peacocking. I get why guys want to be photographed, but it’s a bit much when you’re come to Pitti and just stand around posing. That’s taking it to an extreme. Also, don’t show up to every single show outside the show.

MH: Are there stalkers?

TT: They’re not stalking me, it’s just like get a life. It’s one thing if you come to a show and you’re doing your job, and you’re going to shows and you’re ignoring me, that’s what I love. But if you’re coming and walking around in circles and asking to be photographed your reeking of desperation, and it’s just like...I mean come on. I’m not trying to be judgmental, but give me something more than walking around in circles. You know?

MH: What’s Tommy Ton’s catnip?

TT: Give me the coldest stare ever.

MH: The coldest stare ever?

TT: Yeah, ignore me completely, I love that. I love that sense of distance between me and my subjects, there’s a sense of mystery and you want to know more about the subject and the fact that they don’t want to be photographed or their running away from you makes you want to photograph them even more. So I guess that technically makes me paparazzi then, right?

MH: Who gives you a really icy stare that you really like?

TT: I’m not going to name any names, but there’s English and Italian editors that I love because they do that.

MH: I could see some really rich person in Texas trying to commission you to take his or her photograph. Has that happened?

TT: [Laughs] I wouldn’t say in Texas, but maybe in Russia.

MH: Have you done that?

TT: No, I haven’t. I think at that point you just kind of lose your integrity as a street-style photographer.

MH: There are these people--you created them, you created their street style identities thanks to street style. How do you feel about that?

TT: I didn’t create any of them, it’s only because I work for you guys, that’s why. It’s amazing to see these individuals and characters, individuals that have so much energy and they’re just, like, Gods among us. It’s just amazing that street style has given them a platform to use this as an opportunity to branch off into different projects and to be recognized more so than just being behind the scenes.

It’s great for other people too that’s happening to because the old system’s about you working up for years and years until you went from junior to assistant to whatever position. So now, by utilizing street style, or your image, you can propel yourself further into the industry.

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MH: What do you think is next for street style? I remember we talked a few years ago and you said you didn’t know how long street style would last, but here we are, and it’s a few years later. Where do you feel street style is in its life cycle?

TT: I think everyone always feels like it’s on its last legs, but I think what’s helped street style is that it’s a resource. It’s taught men in particular how to dress and how clothes should fit on their bodies. I think it inspires people to want to learn more about fashion. But in terms of how long the chaos will go on, I have no idea. It has definitely been integrated into retail. You’re seeing it invading catalogues like J. Crew or Saks or Bergdorf’s. In GQ the editorials are very street-style inspired. So I don’t know. I wish I had the answer. If I did, I’d know exactly how long my career is going to last.

MH: Words you live by?

**TT: **I’m more of a gut instinct person, if it feels right, then I’ll do it. Maybe that’s my motto, if it feels right, it is right. If it tastes good, I’ll definitely eat it twice.

Here’s a motto, life’s short, click away. That’s something I learned a year after I started shooting, because if you’re too analytical about everything you’ll never get the shot. You just have to keep clicking and that’s how you learn more as a photographer.

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